Take the example of the digitally simulated lens flare, which a phenomenological analysis reveals to be riddled with perceptual paradoxes. Post-cinematic cameras – by which I mean a range of imaging apparatuses, both physical and virtual – seem not to know their place with respect to the separation of diegetic and nondiegetic planes of reality these cameras therefore fail to situate viewers in a consistently and coherently designated spectating-position. Let me start by summarizing an argument I have made elsewhere about the transformation of the camera and its images in a post-cinematic media regime. I want to show, ultimately, that new forms of collectivity may become thinkable and, hopefully, actionable in the spaces opened up by post-cinematic media.

In this presentation, which is divided into three sections, I want to take this thought a step further. What this amounts to, ultimately, is a radical empowerment of the nonhuman environment, the agency of which becomes tangible in sites and forms ranging from the Fitbit to “big data” and the computational modeling of climate change. However, there is a flip-side to these negative determinations that I want to highlight: if the microtemporal and subperceptual operations of post-cinematic media bypass and hence displace subjective perception, they also serve to expand the material domain and efficacy of sub- and supra-personal affect. Digital imagery has long been held accountable for effacing the indexicality of cinema’s photographic base, while post-cinematic images more generally might be thought in terms of what I call their “discorrelation” from viewing subjects. The computational and broadly post-cinematic media at the heart of contemporary moving images are involved in a massive transformation of human agents’ phenomenological relations to the world. Post-Cinematic Affect, Collectivity, and Environmental Agency Barbara Audet on Sensing Media: New Book Series at Stanford University Pressįull text of the talk I presented at the SCMS conference today:.

Intermediations: Patrick Jagoda, “Metagames and Media Aesthetics” (January 27, 2023) – medieninitiative on Game Changer Lab at Critical Making Collaborative, Jan.BOOK LAUNCH! June 29, 2023: Hopscotch Reading Room, Berlin – medieninitiative on BOOK LAUNCH UPDATE: New Date (July 3) and Location! In conversation with Mark B.Dennis Sun on BOOK LAUNCH UPDATE: New Date (July 3) and Location! In conversation with Mark B.shanedenson on BOOK LAUNCH UPDATE: New Date (July 3) and Location! In conversation with Mark B.

“AI and the Future of (Media) History” - Full text of my keynote from “Questioning History in the Age of Artificial Intelligence” (UC Berkeley, April 11, 2024).Hodge at Digital Aesthetics Workshop, April 30, 2024 “Six Theses on an Aesthetics of Always-On Computing” - James J.Technoskepticism: Between Possibility and Refusal, The DISCO Network (Sensing Media).“Dancing Technologies: Integrated Movement, Drones, and Posthuman Blackness” - Raissa Simpson, Marc Chappelle, and John Eric Henry at Critical Making Collaborative, April 26, 2024.Bates, “An Artificial History of Natural Intelligence: Thinking with Machines from Descartes to the Digital Age,” May 22, 2024

Formula da cinematica